Tag: articles and art resources
The first force of a work of art is its appeal to the senses. This is direct and immediate. It is the physical effect, almost utterly unescapable whenever there is presented to anyone a vigorous composition in color or in tone or a strong rhythm of song or of motion.
Religion which has disdained the arts as sensuous has not, therefore, escaped sensationalism. It has developed the sensational preacher. He is the man who preaches for a sensuous effect. He has greater success usually in getting people to come to hear what he has to say than in having something worth while to say when they get there. This is not always true but it is so very commonly. Our most thoughtful ministers, those under whose preaching the more serious-minded people desire to sit, are little given to sensational preaching.
Their form is good form but it is not nowadays florid, overly dramatic, or eccentric form. They touch upon timely themes of the day, not as advertising captions but for real discussion. Your true and proper sensationalist develops rhetoric, gesture, perhaps even hair cuts, newspaper themes, and peculiar exercises calculated to rouse interest and produce a momentary enjoyment or excitement.
Sensationalism is necessary for religion, but not this kind. I would rather that my boys should be appealed to by the noble sensationalism of excellent paintings, brilliant music, and noble ritual than by the sensationalism of an evangelist crawling about on all fours like a bear show.
However much we may desire to spiritualize our religion, we are not disembodied spirits, we are compact together of flesh and spirit– “Nor soul helps flesh more now, than flesh helps soul.”
Our view of human nature and of the bodily life is very different from that of the Reformation theology. Our new utilization of the fine arts is to be based upon the new psychology and upon the new theology rather than upon Calvinism.
The impulses of the flesh may develop downward. But also every human instinct may become the root of a possible spiritual virtue. If our task is still partly to mortify the flesh, it is also to understand it and use it for good. If spirtual experience is an incorporeal thing, its beginning is usually something born in the mystery of the bodily being. We do not have the same reasons for fearing the arts that the Puritan had, as he did not have our reasons for using them.
Sensationalism has always been deep and constant in human life and in religion and always will be during the life of earth. The Hebrew prophets not only used abundant imagery in speech but actual physical objects and eccentricities of conduct to capture attention and press home their message. It seems questionable whether Jesus performed his works of healing for this purpose, but hardly questionable that his approach to the city on the Day of Palms was a form of sensational appeal. It may be said of it, as it may be said of other sensational conduct, that it was done for effect. Precisely so, for that is the way to be effective.
Our modern church has rather too little than too much of appeal to the senses. It is not sufficiently interesting or sufficiently thrilling. I do not at all object to the sensational methods of the orator or of the evangelist in their proper place. But the sensational preacher should not be the pastor and teacher of a normal church, large or small. That form of appeal to the senses is in the long run neither so effective nor so beneficial as quieter forms–music, decoration, architecture, and liturgy. The oratorical type may be more thrilling at the moment but less lasting than the rhythms set going by the finer arts.
The older religions all make more effective use of the noble and more commendable forms of appeal to the senses. One would not expect to get the following testimony from a modern free churchman, but here it is: “The Japanese know how to produce effects, they have a sure instinct as to the moods in which a person should stand before a temple or shrine. Hence they study the approaches to their sacred spots almost as much as they do the elaboration of the spots themselves. The Shintoists have their torii or more likely lines of torii before each shrine; the Buddhists love to place their houses of worship and meditation in the midst of great trees or on the tops of hills which they approach by moss-covered staircases of stone…
When one has removed his shoes and penetrated to’ the inner shrine and stands on the soft matted floor before the image of the Great Buddha, the subtle power of idolatry when wedded to high art becomes apparent in an unmistakable way. The sense of solemnity, of quietness, of peace is in the very air, and there comes to one a new sympathy toward those who know only this way of consolation.” These beautiful and skillful arrangements are planned for their direct and immediate effect upon the senses and they are effective.
Nor would one naturally expect the testimony written by one of the most distinguished New England clergymen of the nineteenth century, a leader and representative of the best thought of his day. Dr. Theodore Munger describes the cathedrals and cathedral services of the English Church. And then he adds: “Here lies the secret of public worship; we do not worship because we feel like it, but that we may feel.
The feeling may have died out under the pressure of the world, but coming together from mere habit, and starting on the level of mere custom, we soon feel the stirring of the wings of devotion, and begin to rise heavenward on the pinnacles of song and prayer. This is well understood in England, and underlies the much criticised ‘Cathedral system.’ Here is a mighty fact tremendously asserted; it forces a sort of inevitable reverence, not the highest and purest indeed, but something worth having. It becomes the conservator of the faith, and in the only way in which it can be conserved, through the reverent sentiment and poetry of our nature… The main value of the established church is its lofty and unshaken assertion of the worth of worship–keeping alive reverence, which is the mother of morality, and furnishing a public environment for the common faith.
Take her away this summer and make your trip special with a visit to one of these romantic art museums. Sure, a great beach or club is fun, but don’t forget to satisfy her mind and heart with an outing that lets you stroll and talk about what you see. So here are the top 10 romantic art museums to visit with that special woman in your life, along with a few tips on the best spots to find a little privacy amid the crowds.
You don’t have to love art or know anything about art to appreciate what these romantic art museums offer. We sometimes forget that a romantic moment can occur during daylight hours and must remind ourselves that we can connect in ways other than over drinks or expensive dinners. These museums also offer the chance to find out who she is without much discussion. For once you can simply enjoy your surroundings and the moments you create together.
1. Musee Rodin, Paris, France
Nestled among the hustle and bustle of the Eiffel Tower and the Louvre, one finds the sculpture gardens and Rodin Museum. Walk the paths and marvel at his work. Enjoy a glass of wine and walk the halls of this understated museum before heading back into the city of light, but before you do hike the length of the gardens beyond the fountain for some of the most secluded alcoves of any garden in Paris. The trek to these far corners will be worth every stolen moment.
2. Museum of Contemporary Art, Chicago, Illinois
Don’t get blinded by the size and volume of Chicago’s Museum of Contemporary Art. This romantic art museum and its intriguing exhibitions are on a quiet street close to shopping and dining. This museum is on the small side and privacy is at a minimum, but rest assured it can be found amid the special exhibit galleries in the late afternoon when the tourists and locals alike have moved on.
3. Musee du Louvre, Paris, France
You’ll never get through the entire place in one day. And you won’t get to see a small fraction of the collection if you stand in the security line with the crowds so you might as well impress her with this little-known fact: There is a back passageway into the main entrance below ground. Just beyond the glass pyramid designed by architect I.M. Pei, and along the edge of the Tuileries gardens is a staircase that drops down from the sidewalk and into the shopping arcade. From here you can pass through a small security checkpoint and make your way beneath the pyramid and into the museum. While the crowds might seem large at times, there are plenty of galleries away from the Mona Lisa to steal a kiss or two. Best of all is the fact that you are in Paris, a place where stealing intimate moments seems to be encouraged.
4. Uffizi Museum, Florence, Italy
The halls are wide, the stairs are long, and the artwork amid the Medici family furnishings is undeniably beautiful. The lack of adequate central air has caused many to faint, which author Stendhal has attributed to the magnificent sight of the artwork. Today, you can use the warmer temperatures and the poorly lit passageways at the furthest ends of the gallery’s upper floors where few tourists venture to your advantage as you take a few moments to wipe the perspiration from her brow and remind her why you brought her here.
5. Indianapolis Museum of Art, Indianapolis, Indiana
A renovated gem of glass and steel featuring Puck’s Restaurant by Wolfgang Puck with an immaculate garden for quiet walks. Enjoy the eclectic mix of modern, impressionistic and newly commissioned pieces before an early dinner with cocktails. Then find your way through the lily gardens adjacent to the main building as the sun sets over the 19th-century canal below to a secluded spot among the sycamore trees. If you still have any energy you can treat her to a classic movie under the stars on the back terrace of the main building where the museum erects a massive outdoor screen in the summer and allows you to picnic as you watch.
6. Haus Der Kunst, Munich, Germany
This small but eclectic museum sits on the outskirts of the English Garden and a few blocks away from the best shopping in Germany. After taking in the museum’s collection, you’ll need a break and a breath of fresh air. Head around the back of this romantic art museum and find the small pond with ducks and geese floating around a small island with a Tea House in the middle. Surrounding the pond are several benches rarely used and these will provide the respite you both want.
7. The Metropolitan Museum of Art, New York
The collections and the sculpture gallery at this romantic art museum are the finest in the world. And let’s not forget that The Metropolitain Museum of Art is in Central Park, so a romantic walk is a must after you’ve had some quiet time in the Egyptian rooms on the lower levels. Most visitors stay within the upper floors, and an early Saturday morning visit will provide more privacy than you could ever imagine.
8. Musee d’Orsay, Paris, France
Across the Louvre and along the Seine, this converted rail station is a work of art itself with incredible rooftop views of Paris. The Louvre might have the best of the old world, but the Musee d‘Orsay has a phenomenal collection of oil paintings from the last 200 years. The main floors are congested with security lines, ticket offices and gift shops, so take her upstairs to the cafe and spend a few moments on the outdoor terrace admiring the view. Then slip back inside to admire the smaller galleries amid steel staircases, catwalks and dim dramatic lighting to make a few personal memories of your own at this romantic art museum.
9. Picasso Museum, Paris, France
Nestled in a small neighborhood near the Bastille, the old rambling house converted into a museum boasts a fine courtyard cafe where you can enjoy lunch with wine at a modest price. The lower basement galleries are the quietest, while the upstairs galleries, which house more of Picasso’s better known works, are the loudest. Begin at the top and work your way down for privacy and quiet among the sculptures along the stone staircase.
10. Guggenheim Museum, Venice, Italy
Located on the Grand Canal, the Guggenheim Museum can be reached by foot or by gondola. Peruse the personal collection of Peggy Guggenheim who lived in the house and decorated it with the works of up-and-coming artists. Late afternoon is the best time to visit because the end of the day brings with it the extraordinary light shimmering on the Grand Canal. Here you will find the Nasher sculpture garden and Grand Terrace exhibit areas, which provide a stunning backdrop for the artwork as well as a few stolen moments of privacy for couples to discover one another, helping to make this one of our top 10 romantic art museums.
Contemporary just means “art that has been and continues to be created during our lifetimes”. In other words, contemporary to us.
Now, of course, if you are 96-years old and reading this (By the way, congratulations, if this describes you. Way to keep up with the times!), you can expect a certain amount of overlapping between “Contemporary” and “Modern” art in your lifetime. A good rule of thumb is:
• Modern Art: Art from the Impressionists (say, around 1880) up until the 1960’s or 70’s.
• Contemporary Art: Art from the 1960’s or 70’s up until this very minute.
Here at About Art History, 1970 is the cut-off point for two reasons. First, because it was around 1970 that the terms “Postmodern” and “Postmodernism” popped up – meaning, we must assume, that the Art World had had its fill of Modern Art starting right then.
Secondly, 1970 seems to be the last bastion of easily classified artistic movements. If you look at the outline of Modern Art, and compare it to the outline of Contemporary Art, you’ll quickly notice that there are far more entries on the former page. This, in spite of the fact that Contemporary Art enjoys far more working artists making far more art. (It may be that Contemporary artists are mostly working in “movements” that cannot be classified, due to there being around ten artists in any given “movement”, none of which have shot off an email saying that there’s a new “movement” and “could you please tell others?”)
On a more serious note, while it may be hard to classify emergent movements, Contemporary art – collectively – is much more socially conscious than any previous era has been. A whole lot of art from the last 30 years has been connected with one issue or another: feminism, multiculturalism, globalization, bio-engineering and AIDS awareness all come readily to mind as subject matter.
So, there you have it. Contemporary art runs from (roughly) 1970 until now. We won’t have to worry about shifting an arbitrary point on the art timeline for another decade, at least. Go, be of good cheer, and fear not the term “Contemporary Art”.
To explain art–that, for Paul Klee, meant an exercise in self-analysis. He therefore tells us what happens inside the mind of the artist in the act of composition–for what purposes he uses his materials, for what particular effects gives to them particular definitions and dimensions. He distinguishes clearly between the different degrees or orders of reality and defends the right of the artist to create his own order of reality. But this transcendental world, he is careful to point out, can only be created if the artist obeys certain rules, implicit in the natural order.
The artist must penetrate to the sources of the life-force–‘the powerhouse of all time and space’–and only then will he have the requisite energy and freedom to create, with the proper technical means, a vital work of art. But ‘nothing can be rushed’. Klee, with a clarity and humility not characteristic of many of his contemporaries, realized that the individual effort is not sufficient. The final source of power in the artist is given by society, and that is precisely what is lacking in the modern artist–‘Uns trägt kein Volk’. We have no sense of community, of a people for whom and with whom we work. That is the tragedy of the modern artist, and only those who are blind to their own social disunity and spiritual separateness blame the modern artist for his obscurity.
Speaking here in the presence of my work, which should really express itself in its own language, I feel a little anxious as to whether I am justified in doing so and whether I shall be able to find the right approach.
For, while as a painter I feel that I have in my possession the means of moving others in the direction in which I myself am driven, I doubt whether I can give the same sure lead by the use of words alone.
But I comfort myself with the thought that my words do not address themselves to you in isolation, but will complement and bring into focus the impressions, perhaps still a little hazy, which you have already received from my pictures.
If I should, in some measure, succeed in giving this lead, I should be content and should feel that I had found the justification which I had required.
Further, in order to avoid the reproach ‘Don’t talk, painter, paint’, I shall confine myself largely to throwing some light on those elements of the creative process which, during the growth of a work of art, take place in the subconscious. To my mind, the real justification for the use of words by a painter would be to shift the emphasis by stimulating a new angle of approach; to relieve the formal element of some of the conscious emphasis which is given and place more stress on content.
This is the kind of readjustment which I should find pleasure in making and which might easily tempt me to embark on a dialectical analysis.
But this would mean that I should be following too closely my own inclinations and forgetting the fact that most of you are much more familiar with content than with form. I shall, therefore, not be able to avoid saying something about form.
I shall try to give you a glimpse of the painter’s workshop, and I think we shall eventually arrive at some mutual understanding.
For there is bound to be some common ground between layman and artist where a mutual approach is possible and whence the artist no longer appears as a being totally apart.
But, as a being, who like you, has been brought, unasked, into this world of variety, and where, like you, he must find his way for better or for worse.
A being who differs from you only in that he is able to master life by the use of his own specific gifts; a being perhaps happier, than the man who has no means of creative expression and no chance of release through the creation of form.
This modest advantage should be readily granted the artist. He has difficulties enough in other respects.
May I use a simile, the simile of the tree? The artist has studied this world of variety and has, we may suppose, unobtrusively found his way in it. His sense of direction has brought order into the passing stream of image and experience. This sense of direction in nature and life, this branching and spreading array, I shall compare with the root of the tree.
From the root the sap flows to the artist, flows through him, flows to his eye.
Thus he stands as the trunk of the tree.
Battered and stirred by the strength of the flow, he moulds his vision into his work.
As, in full view of the world, the crown of the tree unfolds and spreads in time and in space, so with his work.
Nobody would affirm that the tree grows its crown in the image of its root. Between above and below can be no mirrored reflection. It is obvious that different functions expanding in different elements must produce vital divergences.
But it is just the artist who at times is denied those departures from nature which his art demands. He has even been charged with incompetence and deliberate distortion.
As the Coroner’s Office Santa Clara County is trying to determine how painter Thomas Kinkade is dead, a close friend said he went peacefully in his sleep.
Kinkade died suddenly Friday at 54. The coroner performed an autopsy Monday, but it is unclear when the office will issue a final cause of death.
Amy Pinto, identified by the San Jose Mercury News Kinkade’s girlfriend, was at his home in Monte Sereno, a wealthy enclave near Los Gatos in the Bay Area, and said that the painter died in his sleep.
Cindy Lemus, who works in administrative support for the coroner’s office said medical tests are planned for all those who died during the weekend in Santa Clara County. “All examinations of the weekend will take place this morning,” she said.
She said the coroner’s office has a policy of not releasing the cause of death to anyone, but the next of kin, which seems inconsistent California law stipulates that all coroner’s reports are made public.
Kinkade family attributed his death to natural causes, but the exact cause of death will be determined by the coroner.
“We are shocked and saddened by his death,” his wife, Nanette Kinkade, which he had been separated for over a year, said in a statement.
In the last decade, he had been locked in legal battles with former owners Thomas Kinkade Signature Gallery, including some accused in lawsuits of trade heavily on his Christian beliefs, even as he drove them into financial ruin.
He had fought against alcohol abuse, former associates said in court records and interviews, and in 2010 his mug shot went viral after his arrest on a drunken driving charge for which he later pleaded not challenge.
“The history and legacy of Thomas Kinkade is a story of triumph and tragedy, which I think everyone can earn to pay attention to,” said Terry Sheppard, a friend Kinkade former company vice president who parted with the painter in 2003.
Besides his wife he is survived by his daughters, Merritt, Chandler, Winsor and Everett, and a brother, Pat, who worked for the company Kinkade.
On Saturday, Thomas Kinkade Co. officials sent a message to distributors that the company will continue, saying that “his art and the powerful message of inspiration will live on.”
In the summer of 1508 Leonardo returned to Milan, which was to be his headquarters for the next five years. His chief patron was still Charles d’Amboise, Lord of Chaumont, who remained governor of Milan till his death in 1511. Early in his life d’Amboise had been touched by the spirit of the Renaissance, and in Milan he tried to revive or maintain the civilisation of the Sforzas. Of this civilisation Leonardo had been the greatest glory, and we know that d’Amboise treated him with the utmost consideration. As with the Sforzas he was not simply court painter, but architect, engineer and general artistic adviser. A few designs for architecture, dating from about this period, are in the Codice Atlantico and at Windsor.
Among them are plans and elevations of a town house with classical orders and various suggestions for wells and fountains. The British Museum MS. of 1508 also contains his longest writings on architecture, a study of fissures in walls and vaults, which suggest that he was employed in restoring and conserving as well as building. One day he would be deciding on the form of the choir stalls in the Duomo; another, acting as military engineer in the war against Venice; another, arranging pageants for the entry of Louis XII into Milan. It was a variety of employment which Leonardo enjoyed, but which has left posterity the poorer.
In these years he also travelled extensively, and although we have many clues as to the course of these journeys we have no hint as to their purpose. They do not seem to be connected with any recorded commission, and it is possible that they were undertaken solely in order to make those observations of nature which were one of the chief interests of his later years. MS. F, dated 22 September 1508 and entitled Di mondo ed acque, is the first of a series containing notes on geology, botany, atmosphere and kindred subjects. Although Leonardo’s approach has become more scientific, he still sees with the eye of a painter. His notes on botany describe the ramifications of a tree and the disposition of its leaves, in much the same spirit as Ruskin in the fifth book of Modern Painters. Many pages of MS. G are concerned with light striking on trees, the various greens of transparent leaves, and the blue sheen which they reflect from the sky.
The same book contains valuable notes of what Leonardo called la prospettiva di colore, the modification of colour by atmosphere; in fact, such observations seem to have been one of the chief motives of his mountaineering expeditions. A drawing of the Alps at Windsor, 1 one of a beautiful series in red chalk on red paper, contains an elaborate note of the colour of mountain flowers when seen through a great gulf of intervening air at a considerable height. There are also notes on the colour of smoke and mist which remind us of Goethe, and only his dislike of formulas prevented him from anticipating Goethe’s principle of translucency. In these writings Leonardo anticipated the impressionist doctrine that everything is more or less reflected in everything else and that there are no such things as black shadows. Meanwhile, his paintings were growing more and more shadowy, so that his last work, the equivocal St John in the Louvre, only just emerges from a welter of darkness.
During these expeditions into the mountains he became interested in problems of geology, and in particular the question of why shells and fossilised marine life can be found high up in mountains many miles inland. The thoroughness, tenacity and candour with which in several pages of the Trivulzian MS. he deals with this problem is an admirable example of his mind at work. He never for a moment admits the idea of a special creation, and he advances decisive arguments against the idea that the shells were carried there by the Flood. Ultimately he assumes that the country has been covered by the sea and sets to work to discover how this can have taken place. Thus his geological observations, taken in conjunction with his studies of embryology and comparative anatomy, show him ready to entertain the whole idea of evolution with a scientific open-mindedness in advance of many distinguished scientists of the nineteenth century.
This study of geology is sometimes quoted as evidence of Leonardo’s drift away from art to science; but I need hardly repeat that Leonardo’s researches, however austere, became fused with the texture of his imagination. His study of the earth’s bones is no exception. He had always been interested in rock formations, and to about the years 1508-10 belong a series of drawings at Windsor which show him studying outcrops and disturbed stratification, where the rock has broken through the comfortable humus, and reveals the ancient, grim foundations on which living things have their precarious existence.
This sense of the world as a planet, seen from a point of distance at which human life is no longer visible, is given final expression in the background of the Virgin and St Anne, now in the Louvre. There are no documents for this work, but the studies for it which have come down to us, no less than the whole character of the composition, suggests a date after Leonardo’s return to Milan and perhaps as late as is 1510. Only the vast and delicate landscape was coloured by Leonardo’s own hand. The painting of the heads is insensitive and without the fine texture of the Mona Lisa.
Parts of it are unfinished–the drapery covering the Virgin’s legs, for example, which is no more than an outline. Yet we know how subtle, musical and close-knit this passage could have been from drawings in the Louvre and at Windsor, showing the elaborate preparations he made for all his work, although when the time came to use these studies in a picture his inborn distaste for finality forced him to leave it unfinished. Even more interesting than these drapery studies is Leonardo’s own drawing for the St Anne’s head. The differences between it and the head in the painting are no doubt partly due to Leonardo himself.
It was he, for instance, who changed the head-dress in order to give a sharper accent to the pyramidal group, and he may have done something to make her type more regular. But the difference must also be due to the head being painted by a pupil and is an example of a well-known truth, that a great man’s pupils are plus royaliste que le roi. The conventionally Leonardesque expression of the painted St Anne has a certain charm and an artificial air of mystery, but the human mystery of the drawing is deeper and more subtle.
Two American authors present an entirely different account of how the famous artist died.
Vincent Van Gogh has long been a poster boy for geniuses who appreciated only after death. Not one of his paintings sold during his life. But while his creative legacy is undisputed, a new theory has raised some doubts about the official story of his death.
CBS “60 Minutes” recently aired a story of two journalists who believe Van Gogh may not have taken his own life. Instead, they believe) that the iconic painter may have been murdered.
They also published a book to advance their claim. Van Gogh: A Life by Gregory White Smith and Steven Naifeh, argues that the great impressionist painter, was probably murdered by two local teenagers. Before this book, most people believed that Van Gogh shot himself in a field before stumbling into her room, where he died more than a day later.
The book, which argues that Van Gogh had lied to protect his alleged attackers, because he wanted to die, raises some interesting questions. Why, for example, were the brushes and easel that Van Gogh had with him on the ground has never recovered? Why does not anyone find a suicide note? And why were unable to locate the investigators of the gun that Van Gogh would have been used on himself?
However, some experts remain unswayed by the new theory. Leo Jansen, curator of the Van Gogh Museum and the editor of the letters of the artist, noted that Van Gogh: A Life is a “great book”, but the authors of the lack of solid evidence in support of their thesis.
Jansen also noted that all we really need to go on what Van Gogh said while he was dying. Van Gogh was asked if he intended to kill himself, and he would have said, “Yes, I believe.”
You can watch the entire “60 Minutes” segment above and decide for yourself.
What’s it like having your photo on a book cover? And not just a photo you’ve taken, a photo of you too!
It feels really good! I knew there had been talking about using my photo for a cover but I didn’t see it finished until a person asked if it was me on your book. So I was quite excited when I saw it! As it is a photo that you clearly see it is me, it feels a little bit weird, but at the same time very awesome!
How do you go about taking such an incredible photograph of yourself anyway?
Whenever I feel like photographing it is nice to just take photos of myself, I don’t need to mind if the model or the make up artist doesn’t have time. Here I am in charge myself and if the photos turn out bad I can just throw them away! It is also very fun to portray different characters in my photos and the key is probably to experiment and try new things for your self-portraits.
The cover has had amazing feedback – some people have even gasped! What’s the best reaction you’ve ever had from someone looking at one of your pictures?
I am very glad to hear that! The best reactions had probably been when I had my exhibition, because the people there wanted to talk about my work in another way than over the web. I can’t think of one specific comment, but it was nice to hear people say that they enjoyed my work to me personally.
I’ve had a browse through your portfolio and I find your pictures very inspiring. They make me want to write stories about them. What inspires you as a photographer?
Thank you! I usually say that I speak with my photography, instead of using words. I am quite fascinated with dreams and memories, so I try to create some with my photography. I find inspiration on art communities as well as everyday life. I am very interested in art, and have always been. I used to draw before I began photographing, and I think that I wanted to get out my feelings and thoughts in another way. Then I found photography which has helped me a lot with this. So I guess what inspires me the most are creating dreams and to create something that is valuable to myself as well as others.
What is your favourite of all the pictures you’ve taken so far, and why?
Choosing just one photo is quite hard, but I must say that even if I don’t work in a studio very much, my favourite photo is actually taken using this artificial light. Otherwise I always use natural light, but somehow this image sure has grown on me. I have wanted to photograph Ida for a long time now and finally had the chance this Summer. I like this image the most because it reminds me how much I have developed since I started. It is my new way of thinking of photography, but still I can see some of the old things in it that has inspired me within these 4 years. The image doesn’t really have a title, it just goes under the name “Ida”.
An image from one of the world’s most colorful festivals is among a magazine’s top reader submissions.
National Geographic is renowned for its professional photojournalism, but the photos that readers themselves shoot and submit are often just as amazing. Every weekday, the magazine’s editors choose their Daily Dozen favorites, and those that are rated highest by online visitors are made available for download in National Geographic’s Weekly Wrapper as computer wallpaper. The image shown here was shot at the Goroko show in Papua, New Guinea, which is one of the most colorful festivals on Earth.
Two decades after the death of the artist Andy Warhol the brand is stronger than ever as collectors continue to pay high prices for his work, curators explore the dark aspects of his career, and consumers are snapping up products, candy to condoms coated with its images.
When the Campbell Soup Company has paid tribute to Andy Warhol, the Pop artist, who alone turn red and white label brand into a symbol of wealth and power, the company has proposed a series of limited edition boxes tomato soup with labels based on color combinations silkscreen artist: aqua green and red, pink and orange and indigo, yellow and gold.
The line was inaugurated in 2004 in western Pennsylvania and Ohio stores to Giant Eagle supermarket chain. Customers who bought the four-packs, priced at $2 per package, are also entitled to purchase a limited edition Warhol Campbell Soup four magnets and can, by showing their Giant Eagle Advantage cards, could obtain a reduction dollars on the cost of admission to Andy Warhol Museum in Pittsburgh native artist.
Campbell Director of Brand Communications, John Faulkner, told ARTnews that the company has since responded to calls from across the United States and Canada and Europe, from buyers who wanted to get their hands on the soup cans of Andy Warhol. However, under the agreement, the promotion has been limited in participating stores.
Then in 2006 Simon Doonan, creative director of Barneys New York, the luxury department store, made nearly identical limited edition Warhol soup cans (labels were printed on high quality paper) to the display of holiday the store, called “Happy Andy War-Holidays!”
Doonan told ARTnews that over 30,000 of these boxes were sold, priced at $ 12 each or $ 48 for the four-pack. The demand for boxes in fact “cannibalized” business gifts shop upscale this year, Doonan said. “At the end of the day, all these high flying people seeking a bargain. Andy would have loved it. Instead of being $ 1,200 of art or a vase for $ 400, they went to the Warhol boxes because he felt cool.”
At about the same time as promoting Barneys, the highest price ever paid for the auction of Andy Warhol’s Campbell soup can painting was done at Christie’s New York, where a bidder paid $ 11.8 million for 1962 Small Torn Campbell’s Soup Can (Pepper Pot), 2006.
Did Barneys buyers even know that the boxes had already been offered in supermarkets campaign at a fraction of the price? Would they have cared? How two almost identical articles being in such demand at extremely divergent? “People have responded in both high and low culture,” said Michael Hermann, director of licensing at The Andy Warhol Foundation for the Visual Arts in New York.
“If you look Warhol, it is still high and low,” said Tom Sokolowski, director of the Andy Warhol Museum. “It was a boy of the working class during the depression who lived in a town highly stratified. He saw what the “haves” had, and he wanted both to be able to decide which was real and who was the poseur. He eventually became the one who told the world how to be cool. ”
More than two decades after the death of Andy Warhol in New York in 1987 at the age of 58 years, the demand for his images is stronger than ever. Prices for his paintings among the highest recorded for all genres.
Many experts point to Sotheby’s $ 17.3 million from sales of Orange Marilyn (1964) in New York in 1998 as a milestone that has propelled the market for contemporary art to a new level and marked the beginning of a new era. In May 2007, a buyer has paid $ 71.7 million at Christie’s for 1963 Green Car Crash paintings, more than quadrupling the previous record. Prices remained high despite the contraction of the art market.
Warhol’s works are especially popular among newly rich collectors around the world, particularly Asia and Russia. Several months before the sale of Green Car Crash, 1972 Mao painting sold at Christie’s New York for $ 17.4 million to Joseph Lau Hong Kong developer.
“The Mao was extremely important because it put Warhol in the same league as de Kooning and other Abstract Expressionists,” said Brett Gorvy, cohead art of postwar and contemporary at Christie’s. “He had an impact major market for small objects like Jackies individual and his self-portraits. “Gorvy note that the interests of wealthy Asian buyers degenerated to this point.” The whole market suddenly life. In 2007, everyone wanted a Warhol, “he said.
Alex Rotter, head of Sotheby’s contemporary art in New York, said that Warhol’s prolific production means that its market is also “the easiest to follow, because you can compare apples to apples, we can compare a work to other works by this period. There is agreement on what makes a work better than another. Warhol is probably the biggest contemporary art market, the dollar volume-wise and judicious.”
against Andy Warhol and imaging have been plastered on thousands of products sold worldwide, candy to condoms. Michael Hermann led a three man team that manages all licenses of products, which significantly increased from what Herman describes as “passive in nature for the first ten years.” Among the licensed products past and present for candy, clothing, porcelain and glass, perfumes, watches, carpets, and jewelry. Condom packages sold in Japan with camouflage print of Warhol’s distinctive convey the message: “They’ll never see you coming ”
Interest Warhol continues to grow with an ever younger and wider. “Andy would love” is a refrain often heard when talking about society’s obsession with celebrities or its attachment to the disaster, which Warhol has explored in his “Death and Disaster” series. Months after the death of Michael Jackson in June, a Warhol portrait of the star in 1984 sold at auction for over $ 1,000,000. The buyer had acquired a few months ago for just under $ 300,000.
In dozens of shows in museums and galleries around the world each year, curators and experts to find new Warhol topics related to mine, exploring all media Warhol and even worked in his bohemian lifestyle . Earlier this year, La Maison Rouge in Paris, author Judith Benhamou-Huet has organized an exhibition, “Warhol TV”, with material ranging from the mid-60s series imitation (in which the artist added small ads) to a reality-show style, who documented life at the Factory, the studio New York, where Warhol concoct his art and the Court has held more than one matching group of assistants, fans, celebrities, and courtiers.
The recent exhibition Andy Warhol Museum, Warhol Live, “has reviewed the work of the artist through the prism of music and performing arts. It featured paintings, including portraits of Mick Jagger and Deborah Harry as well as films, videos, album covers, and ephemera in the archives of Warhol.
Warhol films, he produced more than 650 in five years in 1963, also received the attention of serious researchers and conservation. In 2007, they were the subject of a retrospective at the Museum of the Moving Image in Queens.
“For reasons both of film was the perfect way to Warhol,” said David Schwartz, chief curator of the museum. It was “an environment where he can express his fascination with time, fame, death, sexuality, and many more, including the complex relationship between the viewer and the viewed,” said Schwartz. “Warhol often claimed to be a passive observer, but it was like a great director, always in control.”
In September, the Milwaukee Art Museum opened “Andy Warhol: the last decade,” described as the first exhibition in the United States to explore the work of the late artist. “Do we really need another show Warhol?” Curator Joseph Ketner II, now a professor of contemporary art at Emerson College in Boston, said he was asked during the organization of the show. “Yes,” he says emphatically, noting that the paintings the artist’s hand and turned his collaborations with other artists, like Jean-Michel Basquiat. “What makes this period, a special in Warhol’s career is that he seems to have assembled the various strategies for making art. You see different aspects of his work to come together. ”
The Andy Warhol Foundation for the Visual Arts, created after the artist’s death, plays an active role in managing and promoting the brand Warhol, and he is also a generous donor to the arts. It has lent more than 11,000 works by more than 221 exhibitions since its formation in 1987.
Joel Wachs, a former adviser Los Angeles and one time mayoral candidate, served as president since 2001. He oversees a team of 25 full-time and four part-time employees (including managers and curators of art, editorial staff and researchers for catalogs reasoned, and licenses, programs and support staff general).
Herman believes that the licensed products in the thousands. It does not have an exact number because some products are only available for a limited time. Licensing fees totaled $ 2.5 billion this year compared to just over $ 400,000 in 1997.
Wachs said that products for which certificates are requested must “strengthen the legacy of Warhol.” Asked about the proposal were rejected, he said, “We do not cigarettes, it’s a no-no.” But even Andy opposed to smoking? In 1966, he took out an ad in the Village Voice that said: “I’ll sign my name to any of the following: clothing, AC-DC, cigarettes, small tapes, sound equipment, RECORDS Rock N ‘Roll anything, film equipment and film, Food, Helium, Whips, Money! love and kisses ANDY WARHOL, EL 5-9941. “It was an offer strangely prescient considering the number of products now bear his name.
Clothing is by far the best seller, “said Hermann. Andy Warhol Flower printed signature grace line of swimsuits, caftans, cover-ups and bags Diana von Furstenberg, the designer celebrities who partied with Warhol has been painted by him. Products line von Furstenberg, which is a private company and does not disclose sales figures, ranging from $ 120 for a towel printed $ 485 for a chiffon caftan.
Warhol’s influence on fashion and the music was already evident during his lifetime. In an interview with Deborah Harry in 1986, the singer says that Warhol held his seer-pink, yellow, orange dress, leggings and boots, all designed by Stephen Sprouse, is based on one of his paintings of camouflage. Warhol replied, “Oh… it’s beautiful… it’s great. “After Harry asks him to sign the holding Warhol squats with a ballpoint autograph his leggings, commenting,” Oh, I’m nervous. I’ve never had a leg famous. ”
In late 2007, the company unveiled a Vermont Burton 2008 range of snowboards, boots, bindings, outerwear, travel bags, featuring Andy Warhol prints. Prices ranged from $ 70 for a shirt to $ 550 for a board. (The 2008 line is no longer available on the market, but eBay and other online retailers still offer the goods.) For the 2010 season, Burton is also a snowboard upscale called “Vapor” which features images collaboration with Jean-Michel Basquiat and Warhol is priced at $ 1,195.
Hermann said that the foundation carefully guard against any unauthorized use of copyrights and trademarks. Although the lawsuits were brought against offenders regularly over the last two decades, he said that during the ten years he worked in the licensing department has never been any challenge in court.
Hermann admits that the foundation was initially less willing to license a fragrance. “We were not convinced that the idea made sense,” he said. However, this attitude has changed a few years ago when the foundation joined forces with the upscale New York fragrance company Bond No. 9, which has developed and branded perfumes that connect to specific locations Warhol in New York. Following the Silver Factory, Lexington Avenue and Union Square, Fourth society Warhol perfume on the theme, the success is a job in New York, priced at $ 220 per 100 milliliters and containing the artist’s distinctive neon dollar sign on the bottle, was released last month.
The Warhol Foundation awareness also includes a grant program that provides funding for museum exhibitions, artist residencies, arts and writing, and also aims to help provide affordable health care and insurance for artists. One of the entities most publicized of the Creative Capital Foundation is an independent non-profit located in the downtown office of the foundation, which provides grants directly to individual artists on a project basis. Earlier this year he announced grants totaling $2.5 million for 41 projects, including innovative initiatives literary, arts emerging and performing arts.
This year to date, general subsidies from the foundation went to institutions across the country. In New York, $80,000 was donated to the Foundation Art and CUE $ 100,000 (over two years) at the Centre for Drawing. In Los Angeles, $ 100,000 were awarded to the Museum of Contemporary Art in the “Light of Latin America and Space” show and $ 75,000 at the Hammer Museum for a show of Rachel Whiteread. The Oklahoma-based contemporary center- arts, arts in Tulsa, received $ 100,000 (over three years) to support the program.
The foundation also provides between 20 and 25 per cent annual Museum Andy Warhol’s. He gave the museum’s original 3000 work, then $61 million, when the initiative in collaboration with New York, Dia Center for the Arts and the Carnegie Institute in Pittsburgh, was announced in 1989. The donation consisted of over 800 paintings and 1000 drawings, sculptures, prints, films and video tapes and audio.
In 2007, the Foundation gave the museum six years, grant 654,000 dollars to help sort through 610 boxes of capsules Warhol, the artist had packed, sealed and stored as a kind of diary. Warhol threw in everything from letters, invitations, photos, papers, books and random items like a glass of wine at the Hotel Carlyle in cash, and even food. Each box contains 400 to 1200 points. Archivists have also met with grocery receipts for the Campbell’s soup, Warhol once said that he ate every day for 20 years.
The Board of Trustees, which includes among its member artists Cindy Sherman, Shirin Neshat, and John Waters, has passed a budget increase this year grants for a little less than $12 million from 11.65 million dollars . In addition, the Foundation donated $5.7 million of art this year at 180 colleges and university museums in the framework of the Andy Warhol Photographic Legacy was launched in 2007 as a way to donate carefully organized group photo of the artist to institutions across the country. Many are already using the equipment for stage performances. These include the Ulrich Museum of Art, Wichita State University in Kansas, who unveiled Snap: Andy Warhol Photographs, 1970-1987, “in September.
The foundation has also spent millions, Wachs said, to research and produce a comprehensive multivolume catalog raisonné of Warhol’s works in collaboration with the Andy Warhol Art Authentication Board, a project led by Warhol expert Neil Printz. Two volumes devoted to paintings, prints and sculptures have been made, the third, documenting the works from 1970 to 1974, is expected from Phaidon Press next spring. At this point, Wachs said, there are no plans for a catalog of photographs of Warhol, although the board did consider authentication.
“The authentication board limits the number of works examined about 100 pieces per session,” said Claudia Defendi, co-author of the catalog and deputy secretary of the board of directors. There are three sessions per year, and “more when circumstances warrant. ” The number of works from the Commission declined since 1995 amounts to about 15 percent, Defendi said.
If Warhol meant what he said when he advised people not to worry about what others have written about them, but simply “the measure in inches,” he would probably appreciate the incredible attention and ever increasing focus on his life and work. “Publicity is like eating peanuts,” he said. “Once you start you can not stop.”
Warhol’s friend Jeremiah Newton summed up perfectly the phenomenon in a Warhol photodocumentary compiled by students at NYU. Mr. Newton, “I do not think he ever left. He is always knocking around… He never really died, you know… Andy is everywhere. It is in Europe. Asia. He is quoted in the newspapers every day. He still has energy. It’s just, you know, still alive.”